autographed PEGGY LEE george shearing 59 boxed DJ promo

$

150

a very rare boxed dj
souvenir copy of this classic
with autographs, etc.

~ peggy lee & george shearing ~
beauty and the beat!

recorded live at the national disc jockey convention in miami, florida

rare boxed dj souvenir package with autographed photographs & more

released in 1959 by the capitol record label ~ mono release # T 1219

an original mono pressing with capitol rainbow labels that
comes in a special 'box' that has the following printed on the front
"souvenir of the 1959 dj convention miami florida"

the normal lp cover for this release is pasted into the inner-top
and bottom of the box - an obvious custom job by capitol to promote
this release to dj's that attended this disc jockey conference, and inside is
a mono copy of the album as well as an autographed photograph of
peggy lee and an autographed photo of george shearing + a signed letter which is
signed by both Peggy Lee and George Shearing plus there is an additional
2-page letter describing the dj conference and the performance
and recordings on this lp that is printed on capitol records stationary

the letters state that this version of this release was intended
solely as a gift for dj's who were in attendance of this performance
at the 1959 miami disc jockey convention, and goes on and on
about the technical difficulties that plagued that concert

now we must state that we are record dealers and we do not specialize
in autographs, and while we have no reason to doubt the authenticity of the
signatures on the photos and on the letter contained in this package, this
is all being sold "as-found" with no guarantees


~ songs ~


DO I LOVE YOU?
I LOST MY SUGAR IN SALT LAKE CITY
IF DREAMS COME TRUE
ALL TOO SOON
MAMBO IN MIAMI
ISN'T IT ROMANCE
BLUE PRELUDE
YOU CAME A LONG WAY FROM ST. LOUIS
ALWAYS TRUE TO MY FASHION
THER'LL BE ANOTHER SPRING
GET OUT OF TOWN
SATIN DOLL


~ players ~


PEGGY LEE
GEORGE SHEARING
RAY ALEXANDER
JIMMY BOND
WARREN CHIASSON
RON HAYENS
RAY MOSCA
ARMANDO PERAZA
CARL PRUITT
TOOTS THIELEMANS


~ matrix #'s ~


side one  :  T1-1219-D3    1
side two  :  T2-1219-D3    X

the above reference #'s are 'scrawled' into the dead wax
and there is also a star symbol 'stamped' onto each side
and it is unusual for Capitol releases to have 'scrawled' matrix
numbers. Capitol almost always had 'stamped' numbers so
this dj copy was likely a pre-release pressing and is quite rare
& possibly pre-dates even promo copies of this classic


~ condition ~


in excellent condition and has been fully play tested and it sounds great
with almost no crackle at all but there are some brief spots with quiet tics

the vinyl is shiny and clean with almost no wear

the cover is in excellent shape with bold bright printing
and has no seam splits, writing or markings

all of the extras are also in excellent shape

displays and plays fantastically


~ additional info ~


we have never seen another boxed copy of this release
and our extensive research has also turned up no mention of
other copies.  this is quite rare and is a wonderful artifact of the
late 50's music industry.  this copy was indeed part of a jazz
dj's personal collection and is
a real find


~ review ~


upon its first release Beauty and the Beat! was billed as a live recording
from a Miami convention of disc jockeys. Though Peggy Lee and George Shearing
did in fact perform there and attempts were made to record them for later release
the songs heard on the subsequent lp were recorded in the studio and overdubbed with
canned applause and introductions. Lee and Shearing, who had never recorded
before, conceived a set of completely new arrangements that played to their strengths
of stately blues and effervescent swing. The best of the former comes on a pair of
locale-referencing blues songs "I Lost My Sugar in Salt Lake City" and the standard
"You Came a Long Way From St. Louis" - both of which Lee and Shearing are
able to transform into languorous, respectable torch songs. The usually downcast
"Blue Prelude" is actually taken at a laissez faire tempo that Lee treats well and the set
ends with "Get Out of Town" and "Satin Doll" - a pair of bemused, affectionate
performances that perfectly suit the pair. Lee and Shearing's only collaboration on
record is a supremely chilled session of late-night blues from these two masters


~ peggy lee ~


Peggy Lee's alluring tone, distinctive delivery, breadth of material and
ability to write many of her own songs made her one of the most captivating
artists of the vocal era, from her breakthrough on the Benny Goodman hit
"Why Don't You Do Right" to her many solo successes, singles including "Mañana"
"Lover" and "Fever" that showed her bewitching vocal power which had a
balance between sultry swing and impeccable musicianship

she was born in Jamestown, North Dakota and got her sense of swing
by listening to Count Basie on the radio, and she taught herself to sing and
made her radio debut at the age of 14. After moving to Fargo, and then to
Minneapolis and St. Louis to sing with a regional band. She finally got her big
break in 1941 when a vocal group she worked with began appearing in Chicago where
she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about
to leave his band. Lee recorded with Goodman just a few days later and had several hits
with him, including "I Got It Bad (And That Ain't Good)" and "Winter Weather" and
"Why Don't You Do Right" but she left the Goodman band. She signed with Capitol
in 1945 a solo artist and was an immediate success and went on to have over
two dozen hits before the end of the decade, including "It's a Good Day" and the
classic "Mañana (Is Soon Enough for Me)" and "I Don't Know Enough About You"
and in 1952 Peggy Lee moved to Decca and scored with "Lover" and also appeared in
the film Pete Kelly's Blues. She spent only five years at Decca before moving back
to Capitol where she recorded a wide variety of material influenced by the blues
and latin music. She even recorded with an orchestra conducted by Frank Sinatra for
1957's The Man I Love and then with the George Shearing Quintet for 1959's
classic Beauty and the Beat and with Quincey Jones as arranger and conductor
for 1961's If You Go and with arrangements by Benny Carter on 1963's Mink Jazz
and Peggy Lee was also an early advocate of rock and made a quick transition into
rock-oriented material and sounded quite comfortable covering the more song-oriented
end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie
Burt Bacharach, Randy Newman, Goffin & King and John Sebastian. She had a big hit
in 1969 with Leiber & Stoller's "Is That All There Is?" but later returned to her roots
with 1972's Norma Deloris Egstrom From Jamestown, North Dakota which was
her last for Capitol and then moved on to Atlantic, A&M, Polydor UK and DRG before
retiringin the 1980s. Her last album, Moments Like This was recorded in 1992 for Chesky
and her voice was effectively silenced after a 1998 stroke, and she died in 2002


__
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